Reduction printing is a challenging, sometimes frustrating, but ultimately rewarding printmaking technique. Having just finished a seven-layer reduction print, I thought I would share a little info and some tips about the process.

What is a reduction print?

Reduction printing involves using the same block to create a multi-layered, multi-coloured print. With each layer, more of the block gets carved away. Often by the time the last layer has been printed, the block is unrecognisable and can never be printed again. Therefore, a finished reduction print is a true limited edition print.

Why choose to reduce one block rather than create multiple blocks?

Take a look at these two banksia prints. The first has been created using multiple blocks that are printed separately to create the finished piece.

The second piece has used the same block to print each layer. As you can see, the reduction process takes the final piece to a new level of depth and colour. 

Tips for reduction printing

Preparation is key

Reduction printing requires good organisation. Once you have printed a layer and carved the next layer, you can not go back! It is important to prep all of your paper at the start. If you would like to have a final print run of 20, you need to begin with at least 30 prints to allow for the occasional mistake along the way. I also prep my colours, sometimes doing colour studies experimenting with layering and different levels of opacity. 

Registration

Accurate registration is necessary for successful reduction printing. If you don’t lay your paper in the exact same place every time you print, the finished result with be a slightly out-of-focus print. I use Ternes-Burton pins and tabs which is a registration system used by printmakers all over the world. The pins have a round raised nub and the plastic tabs have a corresponding hole which slot over the pins. I create a printing jig out of cardboard first cutting a hole in which my block will sit and then attaching the metal pins underneath.  Finally I prepare every single piece of paper I want to print by laying them over the uninked block and attaching the plastic tabs with removable tape (I use washi tape for minimum damage to my paper). As with all things, good registration takes practice!

Light to dark

I find that I get the best results from reduction printing when I begin with light colours and then graduate to darker colour with each layer. Don’t forget that white is a colour too! The first carved layer should emphasise the white highlights of the final print. While it is possible to print light onto dark, some colours are stronger than others and you may find they will interact with the next colour in a way you don’t expect. For example, in my most recent print, I had trouble printing a light yellow-green on top of a deep red-pink. 

Reduction printing can be incredibly nerve-wracking, especially when you get to the final layers. If you stuff up a colour or make a mistake with your registration, you can ruin many days worth of work. However, nothing beats the thrill of the reveal when all the hard work comes together and you have a complex and beautiful piece of art. 

Check out my newest reduction print, Dahlia Dreaming here